Learning Log – Part Two

Part Two: Project Four –

Each morning on our local radio station the two d-j’s end up with ‘what I have learned today’

To day I have learned that:

Students let themselves down if they do not include a learning log with their assessment work which records their reflection on their work, and that

Students need to show judgement of their work by being selective and plum for ‘ones’ best work’  with efficient preparatory work for their final pieces, and that

Students who investigate, practice, try again, do re-work, look at the masters (artists) structure their assessment clearly, label each assignment outcome, present final work other than that work that was done last, look for guidelines and examples provided in the OCA handbook, reconciling the instructions in the course folders withe assessment guidelines can be assured that they will not feel let down when it comes to their assessment reports, and that

it is not necessary for Students to learn these things the hard way.

What have I achieved?

Did you mange to ‘make space move? The size and scale of the blacked blocks and lines affected the amount of movement as did the amount of space in between each object. The other apsect was related to moving the sheet of paper on which the objects were drawn – Yes is the short answer.

What are your thoughts about the drawings you did in Stage 3? At the time my thoughts were how can I choose, what criteria will I use? but eventually  – what a wealth of resource material I have that is so different. By taking time to look more closely I became convinced that there was some aspect of every drawing just waiting to be conceived.

Were you able to use your drawings successfully as a basis for further work? Yes and no. Yes where the patterns became obvious as pencil and paint brush hit the paper, no where I was not prepared to spend an exorbitant amount of time trying to construct patterns from abstract images.Are there any other things you would like to try? As yet undiscovered ways of progressing designs with computer software that will create stitches that can be embroidered on a sewing machine.

Now that……………………………………………………………………independantly?

Yes, realising also that there must be more creative ways just waiting to be discovered by researching literature and other master artists. This is just the beginning.

 

Sketchbook

Part Two: Project Four – In your sketchbook

Having just viewed Pat Hodson’s review of textile student Jackie Ward’s sketchbook http://news@oca-uk.com I will now have no excuses for not emulating her presentation for assessment.

The first obvious feature of her presentation is that it is all in a ‘fixed’ binder/notebook. Completing and controlling work in this form of sketchbook I find is @#$%^& difficult. Below my entry is all on loose sheets of A3 110gsm paper which can be either bound or held together with binder clips/rings for presentation to tutors and/or assessors.

The second obvious feature is that when presenting work that is not necessarily the ‘final’ work but a selection of work that can be something other than the work that was done last it may well have to be torn out of the middle of a ‘fixed’ sketchbook.

 The first two images were chosen because of the contrasting light and dark shadings so that a comparison could be made between the various marks and colours. The image on the right was as a result of cutting three drawings into strips and interlacing them in a woven pattern. The result needs to be looked at from a distance in order to see the greater patterns and blocks of colour. Changing the scale of the image helps to clarify less meaningful marks and makes others more emphatic for further evolution.

 A closeup and distant visual of an 8cm framed segment prior to enlargement and additional resolution. The outlines and squares are predominant and will need to be redrawn to show aspects other than geometrical shapes, depending of course on how the designer perceives an outcome of the chosen segment. The method used of weaving the slips of paper together gives structure and purpose to this exercise. Highlighting a small segment tends to isolate features that can be confusing when looking at the greater picture. Once again the colours black and white act as highlighters whereas the primary colours stand out just waiting to be composed further into designs which merge with a measure of staccato rhythm.

 Showing a selection of the 8cm square chosen for enlargement and the base image from where other 8cm squares have been taken. The image on the left shows extreme markings of texture and undulating material. This was created with heat being applied to coloured plastic flower wrapping paper and then acrylic paint used on the surface.It has a raised surface/relief which adds another dimension to my work that has been mostly on a flat paper surface.

 By using a double panel  of mirrors at different angles various compositions are able to provide patterned pieces which lend themselves admirably to be developed in patchwork and quilting. The simple application of the mirrors becomes a valuable encouragement to working further with graph paper and/or computer aided designs ending up as either embroidery designs, hand stitched motifs or bed quilts to mention only a few options. Placing the mirrors at right angles or a variation of positions creates  a sense of excitement in itself. I felt a great sense of achievement as I saw the possibilities especially in a wide choice of colours and painting sticks.

 

Cut and paste both on the computer and with scissors and paper are a meaningful way to create designs tantamount to deciding which ones lend themselves or are chosen to be stitched and/or sewn out. I am really chuffed about these exercises I think I am getting some where at last – well along the lines that I believe I should be developing designs. I am building up a great body of work at this stage with the exploration process being the main driver. I am not afraid to develop and use as many mediums as possible and as many new tools that I can lay my hands on. These images are only a selection of my current work with the purpose of showing how my work is evolving towards resolution and finished pieces.

Stumpage is a technical and commercial term for the value of a growing tree. Once the trunk is felled however death and decay set in and provide a feast of images which can be metamorphed into samples and experiments by textile and fibre artists.

Death and decay captured in water colour and black ink pen.

Mixed hand and machine sampling of textures and shapes on the face of the felled tree trunk. Strips of demin were woven into a piece of fabric and stitched on to hessian.

Trialling colour mixes and recipes for resolution of sampling.

Pattern forming so that the growth rings could be developed further into some form of wall hanging.

 

 

 

 

Part Two: Project Four – Stage Four. Developing design ideas

Developing design ideas:

The front and back side of the selected black and white images prior to separation and rebalancing. Very emphatic objects highly visible and with plenty of potential for reforming designs. These will now be cut up and reformatted into ‘jig saw puzzle type A4 sheets and colour added and continuous lines marked in to form patterns.

 Makes so much more sense when I can see something that I can interpret as being a design. Leads me into my structured way of thinking and resolving abstract ideas. There is a system for progressing ones ideas and images. Variables such as colour and formative objects are still to be resolved if I read Kay Greenlees and Qwen Hedley’s suggestions. Mine is still improving as I keep persevering except when my ‘little professor’ wants to be over critical and I have to rethink what I am doing and ask myself – why – why – why – . repetition and keeping on practicing samples eventually leads to a degree of satisfaction so that I can then move onto the next stage or past a ‘stuck point’.

 

Part Two: Project Four – Stage Three

Selecting from your drawings:

 Having been imbued with the principle of all work to be executed within a sketchbook I have had a debate with myself as to working on loose sheets of paper and a variation of textiles. Should these be directly on to a page of a sketchbook or should they be mounted on a page of a sketchbook?

Common sense says ‘whatever’ and I agree. Then comes the question of what are they looking for when making an assessment of each assignment/degree work? Previous ‘distant learning’ institutions have pushed the ‘inside a sketchbook’ requirement and this module actually emphasises the fact that drawings and other work in sketchbooks should be sent with the work sent for assessment. Sad to say there is no clear-cut answer and the problem for this stage is how does one put their work on fixed pages in a sketchbook up on the wall or on a table top? Only one page opening can be viewed at any one time.

The following comment comes from ‘We Are The OCA’ – 19/11/2011

Pat Hodson on November 18, 2011 at 7:05 pm

I think you have to distinguish between assessment and tutorials here. We tutors are there to advise. how can we advise if we only see one or two pieces of work. For at least the first assignment I want to see all the work. I also think we need to distinguish between experimental work, rough designs and more resolved and complex pieces. In a tutorial I want to see the roughs, the struggle and the thought processes. These of course should be in the working notebooks. A student in their reflective log could begin to ’select’the pieces they feel would be appropriate for assessment. (If they want to be assessed of course.)

Pat is making it abundantly clear what she is expecting as an assessor. My guess is that every assessor will have another or different emphasis as to what they may want to see.

Should ‘Moderation’ become a further stage in the ‘Assessment‘ process?

Is a working note book the same as the sketchbook, learning log, or blog url or is it another requirement over and above those set down in the Guidelines for submission for formal assessment which students are sent in their folder as an appendix sheet? Using the correct terminology should be essential other wise students immediately become confused and start to stress.

OCA News [news@oca-uk.com] 19/11/2011 has an excellent video on ‘How to tempt Pat into a bodice’

Having got that off my chest on now to “develop an eye for what makes a drawing have potential – process these drawings systematically to generate further visual ideas”.

 The source pictures were chosen from my photo album of waves, seas, clouds and skies.

A grid was then placed over them to select an interesting combination of marks and shapes from more than one picture.

By cutting up the grid into smaller pieces they could then be reassembled into some degree of well-balanced abstract design.

 

Part Two: Project Four – Stage Two. Exercise 4.

 A favourite NZ artist of mine is Hotere because of the messages behind his paintings. Here the cross is determined by two sheets of painted corrugated iron with small horizontal insertions and slightly apart from one another to illustrate a white cross against the background. I have used acrylic paints to reproduce the image on A3 black paper.

 Rather than draw the proverbial piece of fruit I chose some more mundane items in our class room and tried to reflect the various tones and textures with a variation of lead pencils.

 If I endorse anything special at the moment it is the environment as illustrated by forest and bird images. This one is aka the ‘parson bird because of his white bib under his neck just like the collar worn by the clergy.

 I reluctantly try not to reproduce human figures and do so only to create some interesting representations of recreational pursuits rather than ‘a display of nudity’..

Three photographs of the same scene taken at three different times during the day reproduced with pencil. Why would you bother with pen, paint and pencil when a photograph captures the precise details and can then be modified in photo shop or similar programs for manipulating images. The evaluation is cumbersome and the object becomes personified. Sitting in a studio/class room is very convenient rather than the kitchen table where room for paints etc is at a premium and has to be tidied up before the next family meal.

All these pieces of work commenced with a drawing and then proceeded to be produced with various other tools and media. The effort becomes intrenched as one goes along and each one has something special about its evolution even if it is just place in a loose paged sketchbook, portfolio or plastic envelope.

 

Part Two: Project Four – Stage Two. Exercise 3.

 This dry media drawing used oil pastels of two shades of orange. Using a sheet of A3 meant that the energy went into covering the page and allowing the underlying surface to create a form of texture/rubbing of its own. I tried manipulating this surface by heavy pressure on the pastel, scratching away with saw tooth files and screws etc., and eventually ending up holding the page over a lighted match so that the oil pastels melted and when too close left a burnt mark. Without a preconceived image in one’s mind the resulting effect was negligible but once again provided another resource for future use or embellishment. An interesting but less than satisfactory experiment in my mind – who would know? The variance between light and dark, soft and heavy and thickness and thinness could well be improved.

 I am still visualising the original resource image with its shiny and phosphorus colours highlighting the textures more so than the shapes and colours. Because the colours have been left imprinted on my mind I have used similar tones but tried to emphasize the texture when applying them. This time I used awash for the background and fine oil paints to hopefully create a better sheen to the finished work. Once again there could be a greater variation in the shading and toning range.

 

Incorporating needle felting to arrive at shape, colour and texture.This image represents my perception of the original resource piece with its texture highlighted by vibrant colour and concise shapes.

 

Part Two: Project Four – Stage Two. Exercise 2.

The image on the left refers to the drawing for this exercise and is based on my interpretation of the textual aspects of the chosen piece of work from my resource file. Something I have wanted to trial is the charcoal pencils and then the rubber to add the textual impressions. I am still working in abstract form with a view to moving on to something more representative and defining. The charcoal although messy allows the use of the rubber for effect but also the fingers where the residue resides before hand washing. Both the putty rubber and the standard school rubbers work equally well and do need some pressure to erase and/or modify the base markings. I am still working generally and moving onto more definitive images gradually as I make sense of what appears to me visually on the paper.I enjoy the ‘play’ aspects of these exercises and am not in a hurry to be a Pic………… or a Mon…………………………… hoping that the viewer including myself can make some sense of what I am doing, ending up with a WOW.

 

Part Two: Project Four – Stage Two. Exercise 1.

The excitement in choosing this image came from the vibrant colours that have an effervescent and instant appeal.

Using a variation of lead pencils to give value and tone to the marks helped these become more expressive and representative of the chosen image.

Using chalk pastels made possible a complete coverage and changing depths to the image so that its transparency enhanced the overall texture of the impressions.

The simplicity of the medium representing the shapes is governed by the font and size of the writing. The overall impression is one of openness and gestural expansiveness without being concisely predictive.The expressive nature of ‘tagging’ could well lead to greater rearrangements of recording shapes. Will have to watch out for wall artists and their work to learn about other ways of acting out this medium.

 

Part Two: Project Four – Stage Two.

Looking for shapes and drawing:

A series of images from my resource file, framed so that they appear as segments of the complete image for colour, line, tone, and drawing the visual ideas for further development and/or resolution. Commenced drawing and creating perceived graphics with a black highlighter pen. The purpose of the following images was to help me develop my eye for designs.

 By experimenting with both content and colour and by mirror imaging, horizontal and vertical placement the design blocks were able to be formatted making possible evolving patterns.

 

Part Two: Project Four – Stage One.

Developing Design Ideas – Introduction and Preparation: (This stage is a series of loose sketchbook pages.)

 Could almost be an optical illusion. Moving the paper around has the objects appear to be in motion where as opening and closing the eyes has the black blocks and lines appear in the minds eye. The blacker the outline also means that the images appear to move backwards and forwards against the borders of each respective square.

Tension and energy tends to appear once the shapes and lines move away from either the centre or are at different angles to the edges of the paper.

I have placed these pages along side one another to take the photograph they are in actual fact seperate A3 sheets of paper and were compose in a computer programme.